Tuesday, August 7, 2012

Date founded: Founded in the reign
of Emperor Sujin (r.
97–30 b.c.), according
to shrine tradition. The current buildings are from 1604.

Address: 1612 Yoshinoyama,
Yoshino-cho, Yoshino-gun, Nara 639-3115

Tel/Information: 0746-32-3012

How to get there: Take the Kintetsu
Yoshino Line from Yoshino-guchi Station to Yoshino Station. Then take the Yoshino
ropeway (¥600 round trip) to Yoshinoyama Station. From there it’s about 70
minutes on foot.

Enshrined kami: Ame no mikumari no
kami, Hayaakitsu hiko no mikoto, and Kuni no mikumari no kami.

Prayers offered: Anything related
to water, abundant crops, and the health of children.

Best times to go: For the cherry
blossom season from early to late-April, or for the autumn color in November.

The torii and romon

Important physical features:
Yoshino Mikumari Jinja is part of the World Heritage Site called “Sacred Sites
and Pilgrimage Routes in the Kii Mountain Range” (for more on this, see “Kumano
Sanzan” in "Shinto Shrines: A Guide to the Sacred Sites of Japan's Ancient Religion").

The
present form of Yoshino Mikumari Jinja is due to rebuilding at the behest of
Toyotomi Hideyori in 1604 (the order would actually have been given by someone
else in his name, since Hideyori was only eleven at the time). Like emperors and shogun before and after this time, the Toyotomi worked to ensure their position both through force of arms and the moral force lent by support of shrines and temples (though the latter also entailed the political support of religious sects and their associated clans). Toyotomi Hideyoshi was very active in rebuilding shrines and temples during his lifetime, as well as creating some new ones—including a Great Buddha Hall and a statue both of which were reputed to be larger than the great Buddha of Nara and Todaiji temple. After his death, his wife, Yododono, carried on this legacy in his name and in that of his son. The three honden
of this shrine are designated Important Cultural Properties and are a splendid
example of Momoyama-period architecture. The shrine is also somewhat unusual in
that it combines three separate kasuga-zukuri-style honden under one elongated
roof. The entire structure is nine bays wide by two bays deep. It has a
nagare-zukuri roof covered in Japanese cypress bark. Though said to be ikkensha-zukuri
associated with the kasuga style, it is a little difficult to see the
similarities. Whereas kasuga-style honden have the gabled end facing to the
front, Yoshino Mikumari’s long roof has the non-gabled side forward. Instead,
three chidorihafu false dormers stand to the front, giving the impression of a
front-facing gable, but without the pent roofs typical of kasuga-zukuri. There are also no chigi or
katsuogi, as one would expect to find on a kasuga-style structure.

It
is interesting to compare this group of honden with that of Uda Mikumari Jinja.
Here, as in Uda, the bracketing is more complex than the typical kasuga-zukuri
style, as is the decoration. However, unlike Uda, Yoshino has not been
repainted in quite a long time, and it is difficult to see the detail in the
darkened wood. The honden are raised about three feet above the ground and
stand behind a latticed tamagaki fence. The shrine’s other structures include a haiden, heiden, romon, and kairo constructed at the same time as the honden,
and all designated Important Cultural Properties.

Unfortunately,
some of the most noteworthy treasures at this shrine are not available for
viewing. The shrine is said to house twenty sculptures of the deities, which
have never been displayed. These rare Shinto sculptures, called shinzo, are
thought to be the work of a minor member of the Kei school of sculptors. The
school is best known for the work of two of its finest practitioners, Unkei and
his father Kokei, who were active from the late twelfth to the early thirteenth
century and are renowned for works such as Unkei’s nio guardian figures at the nandaimon gate
of Todaiji in Nara. The only sculpture from Yoshino Mikumari that has been
studied is a thirty-three-inch seated female figure with polychromed surface,
identified as Tamayorihime, made in 1251 and designated a National Treasure.
She has a plump, doll-like face, glass eyes, and wears Heian-style
“twelve-layer” robes (juni-hitoe). On her parted red lips is a faint smile.
Interestingly, this Tamayorihime is associated with childrearing and therefore
with the Mikomori misreading of the deity’s name detailed below. Of the other
sculptures it is known that there are male, female, and child figures and that
some date from 1224. Amongst the treasures that are on display is a small
sculpture of the poet Saigyo, who lived in a hut that still exists not far from
the shrine, in the oku-senbon area of cherry trees. The lifelike sculpture from 1785 was
probably placed here in the Meiji period and is not one of the twenty shinzo
sculptures. Also on view are two very old mikoshi.

Important spiritual features: The
shrine is one of the four Yamato Yonsho Mikumari mentioned in the Engi shiki,
written in 927 and promulgated in 967, as important places where the Mikumari
deity was enshrined. By that time the Yoshino and Omine ranges were the home of
a combinatory practice that closely identified the various Buddha with
different native kami. The Mikomori deity was identified as one of the “eight
gongen of Yoshino.” The great Shinto scholar Motoori Norinaga (1730-1801)
took an interest in the deity, perhaps because his father had prayed fervently
to it for a child, after which, he was born. Therefore he felt a special
connection to the deity and determined to understand its source. So he
began to research the connection between Mikumari and Mikomori no kami, also
called Komori Daimyojin. In his day, the Mikumari deity had come to be
worshipped as a child-protecting kami (which is the meaning of the word
“mikomori”), due to a mistaken pronunciation that had happened sometime during
the late Heian period. Mikomori was often depicted as a court lady with
children, and the distortion of the original deity together with its
appropriation by Buddhism made Norinaga upset. Mistaken or not, the Mikumari
deity is still regarded as a protector of children to this day. And after
all, the deity has proved its worth in this respect by answering a father’s
prayer and delivering Norinaga himself.

Description: This is probably the
most celebrated of the four ancient Mikumari shrines. The layout is rather
unusual. Passing under a torii and climbing a flight of stone steps brings you
to the red and white romon that is the entrance to the grounds. Where one would
normally expect to see a haiden with the view of the honden obscured behind it,
here the honden are to the right and facing left, while to the left of the
entrance and facing right is the haiden. The heiden is in the rear, facing the
entrance. There is a small rectangular garden in the space between these
structures, with a great weeping cherry tree near the heiden. It is recorded
that Emperor Monmu (r. 697–707) offered a horse to the kami of Mount Yoshino in
698, asking the deity for rain. The mountain’s water kami is not actually a
kami of rain; nevertheless black horses were offered to it in times of drought
(a common custom at that time), and white horses were offered to pray for the
cessation of rain. Horses offered in this way were sometimes given as a gift or
paraded and left at the shrine for a short time. Mount Mikumari is also
mentioned in the Manyoshu
anthology
of poetry from the mid-eighth century. Water kami were often associated with
mountains, from which water travels to irrigate the valleys and plains below,
and were among the most ancient and important in the lives of the people.

Yoshino
was not only a place of prayer and meditation. The area became the capital of
the so-called Southern Court during the Nanbokucho period (1336–92). Emperor
Go-Daigo (1288–1339) tried to overthrow the Kamakura bakufu, but was thwarted
and exiled to the Oki Islands. He managed to escape and raise an army to
recapture Kyoto. However, he was again forced to flee after which he set up
government in Yoshino. When he "retired", his son Go-Murakami continued the
struggle, but to no avail. By the time Go-Murakami died in 1368, the Southern
Court had been further weakened, and his successor, Emperor Chokei, moved his
base of his activities to Sumiyoshi Taisha in Osaka (where he was enthroned). After his abdication in
1383, Chokei returned to Yoshino, where he died and was buried in 1394. It was not until the Taisho era (1912-26) that his reign and those of other Southern Court emperors was reconfigured as the legitimate line.

These
days, Yoshino is perhaps best known for the cherry trees that bear its name
(Prunus yedoensis, the Yoshino cherry). Although this variety was developed
elsewhere, the mountains and valleys of Yoshino are covered with about two
hundred varieties of cherry and some thirty thousand trees, with intense
clusters known as the senbon (“thousand trees”). There are four separate
clusters called the oku-, kami-, naka-, and shimo-senbon (the later
being at the lowest altitude). Walking tours and bus tours are available, but
expect crowds. After all, the cherry trees bloom for only about two weeks. It
is this ephemeral quality that came to be associated with the (supposedly)
beautiful and (frequently) brief life of the samurai during the medieval
period. Yet it was the monk and mountain ascetic who planted the tree in
such profusion in the precincts of shrines and temples. In this way, the
mountains of Yoshino have brought together ascetic, warrior and natural beauty,
thereby leaving their mark on the culture of Japan.

About This Blog

This blog is a guide to Shinto shrines throughout Japan. It is intended as a supplement to the book "Shinto Shrines: A Guide to the Sacred Sites of Japan's Ancient Religion" which I co-authored with John Dougill. The book is published by University of Hawaii Press. It is also intended as a place to continue to publish my research into shrines and their history and as a forum for those interested in Shinto in general and shrines in particular.
In addition, the letter "C" in the upper right-hand corner means that the content has been confirmed with the shrine while a "UC" means as yet unconfirmed. While a "C" does not guarantee accuracy, these entries are more likely to be free of error.
To view my design and illustration website, please click on http://www2.gol.com/users/jcali/
Words and images on this blog (other than images belonging to individual shrines or other websites) can be used with permission of the author. Please make your request to hitsugi101@yahoo.com
Words and specified images, copyright Joseph Cali